Braided channels : documentary voice from an interdiscplinary, cross-media, and practitioners's perspective

Field	Value	Language
dc.contributor.author	Fitzsimons, T
dc.date.accessioned	2015-10-25T23:51:06Z
dc.date.available	2015-10-25T23:51:06Z
dc.date.issued	2008
dc.identifier.uri	http://hdl.handle.net/10453/37569
dc.description	University of Technology, Sydney. Faculty of Humanities and Social Sciences.	en_US
dc.description.abstract	Voice is a concept that is a metaphoric proxy for authorship in a wide range of areas of human creativity. In the area of documentary filmmaking, Bill Nichols’ conception of voice has been pre-eminent, dating from a 1983 essay ‘The Voice of Documentary’ that has been frequently republished since. Nichols’ essay forms the basis of his even more widely quoted taxonomy of documentary forms. This dissertation argues that Nichols’ conception of documentary voice requires revision to take account of shifts in: the forms of documentary and their relation to other cultural formations; the surrounding (cross) cultural politics; and the way that the concept of ‘voice’ appears when viewed from the perspective of a reflective practitioner rather than from that of a media studies theorist. The work combines elements of both thesis and exegesis to develop a vocabulary of voice to account for the relationship between the voice of the documentary filmmaker and other categories including subjects, audiences and broadcasters. In particular the categories of the ventriloquic, the dialogic and the choric are interrogated and their application considered both in relation to the candidate’s work and more widely. [PRODUCTION NOTE: DVD can be consulted at UTS Library]	en_US
dc.format	Thesis (DCA)	en_US
dc.language.iso	en	en_US
dc.relation	https://opus.lib.uts.edu.au/bitstream/10453/37569/2/02Whole.pdf
dc.rights	The author owns the copyright in this thesis including all reproduction and reuse rights for the work. The work may not be altered without the permission of the copyright owner. Attribution is essential when quoting or paraphrasing from this thesis.
dc.rights	au.edu.uts.lib/ppc
dc.rights	info:eu-repo/semantics/openAccess
dc.subject	Documentary filmmaking.	en
dc.subject	Voice.	en
dc.subject	Bill Nichols’ conception of voice.	en
dc.subject	Vocabulary of voice.	en
dc.subject	Ventriloquic categories.	en
dc.subject	Dialogic categories.	en
dc.subject	Choric categories.	en
dc.title	Braided channels : documentary voice from an interdiscplinary, cross-media, and practitioners's perspective	en_US
dc.type	Thesis
utslib.copyright.status	open_access

Abstract:

Voice is a concept that is a metaphoric proxy for authorship in a wide range of areas of human creativity. In the area of documentary filmmaking, Bill Nichols’ conception of voice has been pre-eminent, dating from a 1983 essay ‘The Voice of Documentary’ that has been frequently republished since. Nichols’ essay forms the basis of his even more widely quoted taxonomy of documentary forms. This dissertation argues that Nichols’ conception of documentary voice requires revision to take account of shifts in: the forms of documentary and their relation to other cultural formations; the surrounding (cross) cultural politics; and the way that the concept of ‘voice’ appears when viewed from the perspective of a reflective practitioner rather than from that of a media studies theorist. The work combines elements of both thesis and exegesis to develop a vocabulary of voice to account for the relationship between the voice of the documentary filmmaker and other categories including subjects, audiences and broadcasters. In particular the categories of the ventriloquic, the dialogic and the choric are interrogated and their application considered both in relation to the candidate’s work and more widely. [PRODUCTION NOTE: DVD can be consulted at UTS Library]

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http://hdl.handle.net/10453/37569